DG 009EP DG 009EP

"Arisen from the ashes of 1970s West Berlin, Einstürzende Neubauten set out to demolish the mediation between their music and the material reality that encompassed them -- an attack on the false consciousness of rock, that self-rewarding exercise in egoism that could do nothing but tell the same tail a thousand times over, hopelessly ineffective in an age of expanding and increasing scopes of power. That their primary use of instrumentation was the very means of industrial decay around them -- utilizing the metallic and concrete wastelands of overdevelopment as the offensive tools of pure sound -- is evidence to their resolve to express the reality of commodity society and the corollary residues of alienation and dissatisfaction through the very apparatus of their music. Obviously, their methodology of absolute dissonance resulted in their being accused of creating 'anti-music,' a slander that the leading proponents of experimental industrial noise surely reveled in with great satisfaction. Indeed, Einstürzende Neubauten's positions on sound and performance, 'the band' and 'the album' were radical departures from the established norms of group music, their creations more pieces of aural theory and philosophy than attempts at formative structures or recognizable refrains. Their lead vocalist Blixa Bargeld spent most of his time alternating between tormented wailing and muddled theoretical exposition, pushing their project in head-on confrontation with the very language and discourse of pop culture and political beautification. This was a time of great uncertainty, when divisions between the so-called Communist bloc and the 'free' West were coming to a new head; like many in their generation, Einstürzende Neubauten were put off by the protocol of this false dialogue. Excluded from real political participation and discouraged to reflect in any meaningful way on basic social relations, they decided to make their aesthetics their politics and vice versa, refuting the stream of unanswerable lies and inversing the alienation of capital by using its very physical means to express a total refusal to it. Master dissectors of the intricacies of urban alienation and the despair of the failure of the revolutionary movement, Einstürzende Neubauten resolved the dilemma of a youth incapable of any real concrete means of social change, responding not with political terrorism but rather the piercing aural and philosophical terrorism of their 'music' -- reinventing the very purpose of the rock group and revolutionizing the conceptual fortifications of performance culture, an all out attack on the stagnant leftovers of the first wave of punk rock music and a revolutionary new view on industrial decay." "Wüste" and "Blume" taken from the album Tabula Rasa. "Salamandrina" taken from the album Interim.